Perception

This paper extends the range of artificial-intelligence vision programs to the domain of moving objects, using the work of Michotte as a source of data for a computer program which purports to ‘see’ the action types he examined. Given the thesis that internal descriptions of a nonlinguistic type provide the basis for a constructive, knowledge-based theory of perception, the properties of a symbol-manipulating system capable of supporting this are explored as a challenge to the Michotte notion of “direct perception without interpretation”.

Direction-specific losses of contrast sensitivity for sinusoidal test gratings as a function of the contrast of a sinusoidal adapting grating were found to be similar to those measured previously with square-wave gratings. Furthermore, both relationships were similar to that between motion aftereffect duration and the contrast of sinusoidal adapting gratings, and all three sets of data can be fit by a single function. The function shows that the magnitude of direction-specific adaptation effects increases linearly with the logarithm of adapting contrast in the low contrast region, but is essentially independent of contrast once the contrast exceeds threshold by more than a factor of five—six. In addition, it was found that direction-specific losses of contrast sensitivity are restricted to limited ranges of spatial frequency.

In general, a picture can represent a specific environment or scene only when the picture is seen from a unique viewing point. The determination of this unique point and of the distortions that occur when the picture is viewed from other points is crucial to all aspects of pictorial perception. To clarify the effects of the point of observation on pictorial space, the present paper discusses how the correct point may be calculated, provides a geometric analysis of the effects of altering the viewing point, and briefly reviews the effects of such alterations on space perception.

Starting from a study of the Penrose triangle, the theory is advanced that our perception of the relative spatial positions of parts of a figure is mediated by a set of significant directions (or axes). Illustration and exploration of the theory in this paper revolves around examples drawn mostly from a family of figures related to the Penrose triangle. This family is defined partly in terms of the common nature of its members' anomalies, and partly by the feature that they are seen as configurations of ‘beams’. This feature and the conditions for it are also examined by the use of examples.

The assimilation theory of geometric illusions was employed to predict changes in the outgoing and ingoing forms of the Müller—Lyer illusions as a function of attentive field size. It was found that the theory predicted correctly the form of the function relating amount of illusion and size of attentive field only for the outgoing Müller—Lyer. For the ingoing illusion the prediction was opposite to the empirically obtained results. The findings are seen as additional evidence for the untenability of a unitary theory, such as assimilation theory, for both versions of the Müller—Lyer illusion as they fail to account for substantial differences between them.

Maintaining vertical divergence of about 2 diopters for 6, 8, or 10 min was shown to yield an induced vertical phoria (IVP). IVP increased with the duration of the inducing period and decayed with time in the dark, though not completely. Decay of IVP decreased with duration of induction period and increased as a result of maintaining the normal fusional response for 30 s. Vertical eye movements in the dark, however, were ineffective in reducing IVP. Some evidence also was provided for eye-specific errors in the perception of elevation of a visible target that were appropriate to the direction of the induced phoria. It was proposed that IVP may be modulated by resetting the output of the system used to induce the original effect.

The latency time of tracking dynamic random-dot stereograms can be shortened by as much as 100 ms when monocular cues are added by introducing a difference in dot density between target and surround. It has been tacitly assumed that perception time will be reduced only if the added monocular cues are above the detection threshold for each eye. However, the experiments reported here clearly show that stereoscopic performance as measured by an eye tracking task can be greatly enhanced by added monocular cues that cannot be detected. Observers were instructed to track a suddenly displaced vertical bar (portrayed as a dynamic random-dot stereogram) while their eye movements were recorded by EOG. The bar had either a given binocular disparity or zero binocular disparity with respect to its surround. For the target with a disparity (in a wide range), the latency time of tracking decreased by more than 30 ms (10%) as density difference increased from 0 to 4%, whereas in the control conditions with no stereoscopic cues (zero disparity) subjects were unable to track the bar at all within that range of density difference. Thus stereopsis is greatly aided by minimal monocular cues that by themselves elude monocular detection.

Musicians and nonmusicians were required to make written reports of briefly presented displays of pitch symbols. Whilst musicians were not superior to nonmusicians at identifying individual notes they were superior at retaining information about the contour of note sequences. In addition, manipulation of task difficulty by requiring whole or partial report of the displays had a significant effect on performance only when global, rather than specific, response measures were taken. The results are in accordance with the theory that global analysis precedes detailed analysis in perceptual processing.

The shadow cast by an object in a two-dimensional picture can specify for the observer the spatial relations between that object and its surroundings, and also the shape and size of the object itself. Some sensitivity to this information is present even in three-year-old children. Experiment 1 provided evidence that three- and four-year-old children can rely on the shape of the shadow cast by an object to judge the shape of the object. In experiment 2, with adults and three- and four-year-old children, the location of the shadow cast by an object influenced the perceived depth and height off the ground plane of the object. Although even the three-year-old children were sensitive to the location of the cast shadows, there was evidence of improvement with age in judging the distance and size of the object. The three-year-olds were not able to judge the object's size when the location of the cast shadow provided the only differential information for size. In contrast, they were significantly better in judging size when the location of the object, rather than the location of the shadow, was varied.

Monkeys, given the opportunity to move between two featureless chambers, ‘sample’ first one, then the other in a way which reflects a Poisson decision process. The rate of sampling is higher in red light than in blue and in loud noise than in quietness. We suggest that monkeys ‘tune’ their sampling rate to the a priori probability of change in the environment.

Eye movements were recorded while subjects viewed ordinary portraits and photographic negatives of those portraits. Under both conditions they first studied sixteen portraits and then tried to decide which of forty-eight portraits they had just seen. They made more errors of recognition while viewing negatives, and their fixation patterns were significantly altered: there was a decrease in the percentage of fixations directed to the eyes, nose, and mouth, and an increase for such details as the ears, cheeks, chin, cap, and necktie. There was also a decrease in the ratio of fixations to the most fixated detail compared to the least fixated detail.

Helmholtz is usually credited with demonstrating the relationship between the perception of visual direction and eye muscle activity: he said that directional judgements resulted from the effort of will involved in altering the position of the eyes. However, Bell reached the same conclusion many years earlier, primarily on the basis of experiments with afterimages: an afterimage appeared to move with voluntary movement of the eye, but it appeared stationary when the eye was moved passively.